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Days Won
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Posts posted by Sharkissimo
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On 2/18/2020 at 3:13 PM, Disco Stu said:
Just to add my interpretation to @Loert.'s -
At the heart of this movement is a bitonal tug-of-war game between B minor and it's dominant, F# Major. Neither key centre quite wins out, and at the closing measures in a masterstroke of compositional of guile, Poulenc reinterprets the F# as the dominant of B Major, forming an elegant Picardy cadence. The chord you highlight is a G#7#9, which is just the II7 chord in F#, spiced up with a Stravinskian false relation. Note that we've been primed with the genuine article, a G#m, at :09, so when this more colourful chord arrives it feels somewhat uncanny. As the G#3 generates a D#5 in the form of the third harmonic, Poulenc chooses to omit the fifth (a common jazz practice), and this along with way the chord's voiced lends it an open, ambiguous quality, that could lead one to read it as an appoggiatura chord derived from the previous sonority. Both are valid readings I think, but I'd argue there's merit in viewing this passage in the wider context of an expanded functional harmony.
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Stargate
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On 5/6/2020 at 3:47 PM, SteveMc said:
Marathon Man
Yes!
5 hours ago, Alexcremers said:I must say, Sharkissimo is really slow to respond.
I was in a state of hysteria, you know.
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🏃👴🏼🔒 ❓ 🦷 😫 💎
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Is it set underwater?
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2 hours ago, Bespin said:
Did I killed the game?
You succeeded in doing what I only tried.
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On 4/29/2020 at 6:20 AM, Naïve Old Fart said:
It's nice to see David Sylvian getting some love. TIN DRUM is a damned near perfect record.
I've been on a Sylvian/Sakamoto/Japan deep-dive for the last few weeks, although I've already been familiar with his music for some years. Mick Karn's singular sound was essentially the reason why I took up fretless (well him and Jaco Pastorius's work on Hejira). There was a time when I found David 'wish-I-Scott-Walker' Sylvian's glutinous voice grating, but I've come to appreciate it, warts and all. Tin Drum might be Japan's masterwork, but Gentlemen Take Polaroids is still the album I revisit most often--Swing in particular.
As much as I love the original, there's something quite magical about this stripped-down performance of Ghosts.
For me, the verses evince more pathos when transposed down a major second and furnished with the uneasy harmonies that were only latent within the original's Prophet-5 drone. You could probably count the number of pop songs that involve a move from the submediant to a Dorian supertonic on one hand.
21 hours ago, Jilal said:Why'd you delete most of your post, @Sharkissimo? I wish I'd replied a little earlier! As always, it was a very eloquent reminder of how little I actually know about music.
Hey thanks! I've put it back. It got so few likes that I thought I'd gone overboard, or had simply bitten off more than I could chew.
- Jilal and Naïve Old Fart
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3 minutes ago, Omen II said:
The Man With Two Brains?
Yes!
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No one? I thought I made it dead easy....
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💃 🧑 💉 🧠 🧠
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Risky Business?
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It's probably their most consistent record, although I love The Lamb's seething ambition.
- A24 and Naïve Old Fart
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Gosh my brain is fucked.
I had a delay in getting my repeat prescription and have been experiencing antidepressant withdrawal symptoms. Need some quality sleep.
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7 hours ago, Naïve Old Fart said:
I've got 218 "double boxes" with crosses in them (436 in total), plus a single box, followed by a mug of, what looks like, coffee.
My fuckup, as usual.
The idea was to have a large number of hands. which on some screens are appearing as pink ravioli-shaped boxes. The mug could be coffee... or tea.
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5️⃣ 0️⃣ 0️⃣ 0️⃣ ☝👨⚕️ ☕
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Ignore the pink squares. The key is really in the last two symbols.
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On 4/27/2020 at 12:55 AM, Jilal said:Might this be an Alex North reference at 0:34, @Sharkissimo? Sure sounds like it, never expected to hear quartal harmony in disco music
While in classical terms that might called a quartal stack, I would approach it from more of a jazz perspective and see it as an Em11 in a quartal arrangement. By 1976 quartal voicings had been widely embedded within the harmonic vernacular of funk, disco and similar jazz-inflected forms of pop, from Donald Fagen of Steely Dan to Nile Rodgers of Chic.
From Kool & the Gang arranger Ronald "Khalis" Bell's Wikipedia entry:
QuoteHe was born Ronald Bell in Youngstown, Ohio, United States[2][3]) to Aminah Bayyan (1932–2014) and Robert "Bobby" Bell (1929–1985) a professional boxer, who traveled extensively on the boxing circuit throughout the 1950s and 1960s. In the segregated South, black musical acts and boxers on tour would often find themselves in the same accommodations, town after town, and Bobby would often bring home his jazz friends' recordings. It was during those years on the road that Bobby became buddies with Miles Davis, and a roommate to Thelonious Monk.
"It was those albums that my dad brought home that drew me to jazz," says Khalis. "As I child, I was influenced by Miles Davis, John Coltrane, and Cannonball Adderley. I taught myself how to play saxophone by copying records by Lee Morgan, Art Blakey, and Wayne Shorter."
The salient figures here in this quote are Miles Davis and John Coltrane, as it was Bill Evans and later Herbie Hancock with the First and Second Great Miles Davis Quintets (respectively) and McCoy Tyner with the John Coltrane Quartet who were the among the first pianists to introduce quartal-type voicings into what became known as modal jazz. These cats in turn were drawing from earlier innovators like Art Tatum, Duke Ellington, Billie Strayhorn, who together were integral to the formulation of Alex North's own unique language.
For all of these artists the mother source will always be composers like Ravel, Debussy, Milhaud, and the great quartal boom that stretches roughly from 1910 to 1940.
Apologies for the excessively didactic info-dump, Jilal. I know you're pretty au fait with this subject already--just couldn't help it.
- Jilal, Bayesian and Smeltington
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Bob Dylan on John Williams
in JOHN WILLIAMS
Posted
I like Dylan too, although admittedly I'm not so keen on the Cult of Dylan, that like an overgrown tree, cuts out sunlight to other equally worthy songwriters, who for all their talent aren't as adept at the art of personal myth-making as he is.